its function in dancefloor sets is pretty amazing - it really disrupts most of them, just because the sound palette is just so full-on compared to everything surrounding it, but that's not really a bad thing. i'd never say these were bangers as such - they just sound incredible on club speakers that magnify their largeness. people don't so much get down to them as raise their hands up.

those synth noises sound like the producer's going out of their way make them to sound cheap and nasty.

i don't get this in the slightest - yeah it's trebly but it feels so clean, and there are so many ingredients (plus a ton of echo) that all three tracks have this incredibly majestic feel for me - these really overwhelming waves of sound that sound particularly amazing on club speakers. i love how detailed they are - that twinkling motif on "wut", the synth melody coming in towards the end of "every time", the whistle mid-"showstoppa". a lot of the higher-end melodies owe quite a bit to the more abstract grime productions of the mid-00s, and there's a huge juke influence in the beats (esp "showstoppa").

eh, i think it's pushing it call it any sort of flagship nightslugs release, it's good but there's easily other comparable releases.

it's prob my favourite night slugs release so far - certainly the most distinct (and the most demanded - they weren't going to release this so soon after "irl" (girl unit's debut)) but it built up such momentum that they had to. kingdom's that mystic ep and velour's the velvet collection ep are prob my other two favourite NS releases - they're so different too, properly banging, dark techno and gorgeous, melodic woozy funk (one for dâm-funk fans, i think) respectively. jam city's "arpjam" should be huge when it's released too.

whats' the story with this band? uk? new? do they have an album?

one guy, often hilariously assumed to be an all-female group. this is his second single - the first, "irl", is ok, pretty different though. he's done an incredible remix of c.r.s.t.'s "the bells", not on youtube but it definitely has the large, ecstatic walls of synths that these do.

i don't get this in the slightest - yeah it's trebly but it feels so clean, and there are so many ingredients (plus a ton of echo) that all three tracks have this incredibly majestic feel for me - these really overwhelming waves of sound that sound particularly amazing on club speakers. i love how detailed they are - that twinkling motif on "wut", the synth melody coming in towards the end of "every time", the whistle mid-"showstoppa". a lot of the higher-end melodies owe quite a bit to the more abstract grime productions of the mid-00s, and there's a huge juke influence in the beats (esp "showstoppa").

I think Matt is saying that the actual synth sounds used are tightly associated with grimier music. Certainly when I was listening to this I got a sense of musical density but nothing came close to coming across as "majestic", rather more like this is the sound of rave kids fucking in slow motion.

Yeah it's not intending to sound rich and deep and opulent because the actual synth sounds used are essentially the same kind of fake chiptune noises you hear on the Ikonika album, it's harking back to a particular 90s nostalgic way of sounding shimmery, and the cheapness of the sound is part and parcel of that. You compare it to the sounds on, say, the We Love album and one obviously sounds like they've gone to the trouble of making it sound rich and full and textured and the other hasn't, and probably isn't interested in doing so. It sounds preset-y basically.

I'm into this but not as much as I feel I should be. Maybe I need to hear a better quality version. Still love Kingdom and the Deadboy remix of Drake's "Fireworks" if that restores my uk chillwave cred.

she say im down wih huh, i say bitch you aloneyou lyin wit the flesh, lyin with the boneshe say i'm lyin wih huh, my mind in the SKREETi say i'm not with me, i'm with she, i'm with shenow plane lights blinkin, off in da eveningot me thinkin, wish i was leavin

it's completely unlike anything on NS to date. on paper it's even less my thing but idk, the alienation and disillusion aren't just in the press materials, they're in the very good lyrics as well, and it's ultimately a very optimistic album

I can totally see the sadsack laptop dudes thing but even despite that I still think this is really great. The two things it really reminds me of are last year's Dean Blunt and Maria Minerva albums (which were my two favourites of 2014). NickB's description is spot-on.